1 gate curved top; diamond pattern in center; flower and fruit patterns; height 45 in. x width 35 in
Gate originally on lot in Lutheran Cemetery in Queens, New York.
Gate design patented by Henry Faller of Middle Village in Queens, May 31, 1881. This design comprises the arched top pieces, the bottom piece, and the side bars connecting the top and bottom pieces. The top piece is surmounted with convolute stems and buds, partly covering bunches of furit and a central leaf. The side bars are ornamented with a scroll and a capital. In the center of the gate is located a square shield resting upon one of a series of stems emanating from the center of the bottom piece. These stems support also two circular shields and have interspersed buds, two of which enclose bunches of fruit. (Pat. No. 12,287)
Inscription: Henry Reinhardt / 1891.
Smithsonian Gardens, PO Box 37012, Capital Gallery, Suite 3300, MRC 506, Washington, DC 20013-7012
Blake Street, Charleston, Charleston County, South Carolina, United States, North and Central America
18 Poulnot Lane, Charleston, Charleston County, South Carolina, United States, North and Central America
A wrought iron metalwork gate created by the blacksmith and artist Philip Simmons. The gate has two halves, one with a female latch with an inverted L-shaped vertical slide lock. The other has the male latch with a decorative hook that slides up and down on two bolts. Each door of the gate is primarily composed of seven evenly spaced vertical bars. Halfway up each gate is an open section with curving French scroll work positioned horizontally. Similar scroll work is present as the top decoration of the gate. The gate doors are taller at their center than on their hinge side.
Collection of the Smithsonian National Museum of African American History and Culture
Eldzier Cortor, born Richmond, VA 1916-died Seaford, NY 2015
oil on canvas
46 1/4 x 22 in. (117.5 x 55.8 cm.)
Painted in the early years of World War II, Southern Gate offers, a surreal, dreamlike picture of a solemn young woman standing in a space defined by a once-elegant wrought-iron fence, a river, and the steeple of a distant church. They are evocative elements -- the river is a traditional metaphor for passage, the fence an emblem of both confinement and of safe haven from the outside world. Wearing a necklace adorned with a cross and with a bird perched on her shoulder, she invites associations with the Virgin Mary; but Cortor's figure is as physical as she is innocent, an Edenic Eve who stands outside the sacred garden.
African American Art: Harlem Renaissance, Civil Rights Era, and Beyond, 2012
Figure female\knee length
Smithsonian American Art Museum, Gift of Mr. and Mrs. David K. Anderson, Martha Jackson Memorial Collection
Carroll Beckwith, born Hannibal, MO 1852-died New York City 1917
oil on wood
13 3/4 x 10 1/4 in. (34.9 x 26.0 cm.)
Carroll Beckwith painted this statue during his trip to Florence in October 1910. Beckwith traveled to Italy and France throughout his career, copying European paintings in the hopes of bringing the Continent’s great art traditions to America. (Franchi and Weber, Intimate Revelations: The Art of Carroll Beckwith (1852-1917), 1999) From 1910 to 1913, he focused on statues in gardens like this one, in which he revealed his love of bright, expressive color.
Smithsonian American Art Museum, Transfer from Cooper-Hewitt Museum of Decorative Arts and Design, Smithsonian Institution